THE FOX AND THE HOUND

The fox and the hound are recent additions to the boutique. The Jack Russell Terrier brooch on the right, is a Reverse Intaglio Crystal Brooch. It is often erroneously called an Essex Crystal. So much so, that dealers often refer to these pieces as Essex Crystals, even though they know that they are not. The moniker is used so often and is so widespread, that it has sort of stuck. On the left, is a painted enamel miniature portrait of a fox by W.B. Ford, a student of William Essex’.

WHAT IS A REVERSE INTAGLIO CRYSTAL?

The reverse intaglio crystal is an art form that is time consuming, painstaking, and involves multiple steps.

It begins with a piece of rock crystal. The rough is repeatedly polished by hand, with a progressively fine polishing tool to create a domed cabochon on one side and a flat back on the other. The design is drawn on the flat back/reverse side of the crystal cabochon, it is hand carved, and then painted by a master artisan. This yields a three-dimensional appearance. In this particular example, you can even see the shadow of the dog’s muzzle. Finally, it is sealed with a back, typically mother of pearl or gold.

The technique originated in Belgium with Emile Marius Pradier (circa 1860). Reverse Intaglio Crystals were developed and popularized by Thomas Cooke in England (circa 1880). There are many out there, but the good ones are few and far between. It is relatively easy to see the difference in the quality from piece to piece. Take out your loupe and you can see the fineness in the details.

WILLIAM ESSEX, W.B. FORD AND THE ENAMEL MINIATURE PORTRAIT

William Essex (c.1784 – 1869) was an English enamel painter. He is widely regarded as the best enamelist of his generation. He first exhibited at the Royal Academy in London in 1818. He was appointed enameler to Queen Victoria in 1839 and wrote a treatise on the art of enameling. Most of his work is based on copies of the Old Masters or works by famous contemporaries such as Landseer and Winterhalter.

William Bishop Ford (1832 – 1922), the artist who painted the miniature fox portrait at the center of the brooch above, was a student of William Essex’. Ford also specialized in the painting of miniature enamels and exhibited at the Royal Academy from 1854 – 1895. Like Essex, Ford painted miniatures based upon oil painting by famous masters. The fox head portrait above, by Ford, is after “The Fox” (1817) by Abraham Cooper. An engraving print on paper, reflecting the work by Abraham Cooper (1787 – 1868), is part of Victoria & Albert Museum’s collection. According to V&A, the print is “…FROM THE ORIGINAL PICTURE BY A. COOPER.”

Courtesy of the Victoria & Albert Museum, Abraham Cooper, The Fox

When I first started researching the topic, I wondered why painting a miniature portrait in enamel was considered its own art form. I was surprised to find out how difficult and challenging it was. According to the V&A museum, “The advantage of enamel over traditional miniature painting (watercolour painted on vellum or on ivory) is that it does not fade when exposed to light.” The cons are that it is a challenging process fraught with risk. “The first colours to be laid on the metal support have to be the ones that need to be fired at the highest temperature. Then more colours are added and the enamel is re-fired. The process ends with the colours that need the lowest temperature. Such labour meant that it was an expensive option.”

In an article from 1837 in The London and Edinburgh Philosophical Magazine and Journal of Science, “Some Account of the Art of Painting in Enamel,” Alfred Essex, William’s partner and brother, writes of the difficulty of achieving the desired colors and crispness of image required to rival the traditional medium of oil on canvas.

ESSEX CRYSTAL: MYTH OR FACT?

So why does the erroneous moniker “Essex Crystal” persist? Because it is so widespread, dealers still use it to help those that are looking for what they think are Essex Crystals find what they are looking for, and so it goes. How did the misnomer get started? There are several stories circulating as to the origin. William Essex was the enamel painter for Queen Victoria and created other amazing small portraits using enamels. It is possible that because the artwork is so fine and because both are forms of small portraits that Reverse Intaglio Crystals were attributed to William Essex.

HOW TO WEAR THEM

In love with the fox or the hound, but not a brooch wearer? A simple addition of one or two hinged bails would make it possible to wear the Reverse Intaglio Crystal as a pendant. I would pair it with an Albert Watch Chain (on the chunky side). Many enamel portraits are being converted to pendants or rings. The fox would also make a lovely pendant. It is relatively lighter and could be worn with a more delicate chain.

EQUESTRIAN JEWELRY

Equestrian jewelry never seems to go out of fashion and now more than ever, it’s in high demand. Who doesn’t love a lucky horseshoe pendant, a riding crop brooch, hounds of all sorts, and of course right in the middle of it all, stirring things up – the fox!

ANTIQUE EQUESTRIAN JEWELRY & HOW TO WEAR IT NOW

For a variety of reasons, a good number of equestrian motif jewels happen to be in the form of a brooch. A category of jewelry that may be considered uninteresting or outdated by some, is now gaining in popularity as designers, celebrities and the trend setter in your office come up with new and fun ways to wear them.

Here are a few of our takes on how to incorporate the Equestrian Jewelry Trend into your wardrobe.

GROUP AND STACK

Start with a focus pin/brooch in a motif (Equestrian), gem/metal/color you love, or shape (linear or round), and work around it. Looking for something equestrian and love the combination of sparkling rubies and diamonds? Start with our latest addition, an antique riding crop brooch (pictured below). Pair it with a fox stick pin and a diamond bar brooch.

Some color consistency in your group, generally yields a more cohesive look. You may have to play around with your pins a bit before you get the look you want.

THE UNEXPECTED

Wear your brooches, bar pins, hunting stock pins, kilt pins, double clip brooch/dress pin in unexpected places. Pin them to straps of a cocktail dress, to the front vent of a blazer (Versace Versus), or to the top flap of a pocket.

On our last buying trip, we acquired a pair of vintage diamond, pearl, and platinum lingerie pins. We think they will look amazing pinned vertically on the front cuffs of a menswear inspired white shirt (or in place of cufflinks).

CONVERT IT

If all else fails – convert it! We wouldn’t recommend touching something that is rare, but isn’t jewelry meant to be worn?

If it doesn’t work for you in its current form, you should feel free to change it. Some conversions are quite easy and some take a bit of advice and a good jeweler who knows how to work with antique jewelry (and who has a laser welder). It’s happening all of the time. Stick pins converted to rings or single stud earrings, brooches to pendants or barrettes. We’ve been known to convert a few ourselves.

The latest craze in equestrian conversions: foxes and hounds from stick pins/brooches to rings, horseshoe brooches to pendants and rings. So if you fall in love with a brooch and none of our creative ideas on how to wear it spark your interest – convert it!

Equestrian seems to be a key style inspiration for multiple fashion houses for the Fall (2016). I especially love Vogue’s Elisabeth von Thurn und Taxis’ take on the trend seen in: Great Gatsby Meets Downton Abbey in Wales (great title!).

Courtesy of Vogue – Photograph by Jooney Woodward

Both Chanel and Ralph Lauren’s Ready-to-Wear runway shows have included a bit of equestrian style. Each has paired multiple looks with riding boots: from hot pink tweed suits to long black coats piled with ropes of pearls.

Chanel’s 2016 Ready-to-Wear Collection courtesy of Vogue

Chanel’s 2016 Ready-to-Wear Collection courtesy of Vogue

RALPH LAUREN (riding boots, jodhpur style pants, and more) BUCKTROUT TAILORING (hacking jackets), LE CHAMEAU (riding and hunting boots for the field and street wear), AIGLE (riding and hunting boots for the field and street wear), are all great sources for equestrian style.

The trick to this trend is in the contrast. Evening with day (Ralph Lauren’s silk brocade evening dress with riding boots), or frayed with traditional (Bucktrout hacking jacket with frayed jeans and stilettos). Avoid wearing it from head to toe, unless of course you are about to go riding.

Sarah Jacket, in Lovat tweed courtesy of Bucktrout Tailoring

Frayed Jeans, courtesy of Man Repeller

Riding boots: Ralph Lauren, Venerie by Le Chameau, Steve Madden

You can find the Ralph Lauren’s riding boots on Ralph Lauren’s site. Unfortunately, finding Le Chameau boots in the U.S. is currently a bit difficult. At the time this post was written, their website was not set up for U.S. eCommerce.

Looking for the same luxe look for a little bit less? Steve Madden’s Lace Up Boots are a great option.

Ralph Lauren Fall 2016 Ready-to-Wear, courtesy of Vogue

Ralph Lauren Fall 2016 Ready-to-Wear, courtesy of Vogue

WE HAVE MORE EQUESTRIAN INSPIRED JEWELS AT SUGAR ET CIE – SO COME CHECK US OUT!

Photograph by Sugar et Cie of work by Astley D.M. Cooper “Mrs. Stanford Jewels,” Cantor Museum at Stanford University

After arranging her jewelry on red velvet in order to photograph and catalog her collection, Mrs. Stanford decided that she really liked the look of the photograph. She decided to commission, local artist, D.M. Cooper to create an oil painting of the collection (c. 1898).

It’s currently part of a small exhibition of Astley D.M. Cooper’s work on display at Stanford University’s Cantor Museum through November 16, 2015. Always looking for examples of 18th and 19th century jewels, I went down to take a look. The painting is visually stunning, but to me it is most interesting as a piece of design history.

My only wish is that Cooper had painted the jewels in greater detail. One reason for this might be that he painted the final touches from memory. Cooper, a drinker and lover of life, became irritated with Stanford’s demands for formal dress and temperance. “Irked by her pretensions, Cooper stormed out of the Stanford mansion before completing his work.” (A Painter Comes Home, Geoffry Dunn, Metro, March 7-16) The painting was finished later, in the peace, in his studio.

Photograph by Sugar et Cie of work by Astley D.M. Cooper “Mrs. Stanford Jewels,” Cantor Museum at Stanford University

A CLASSIC COLLECTION OF VICTORIAN JEWELRY

I happened to find the following information regarding Mrs. Stanford’s collection in “Bejewelled by Tiffany,” (Clare Phillips). It might give you some insight into the quality of her collection. The Stanford name can be found multiple times in Tiffany & Co.’s surviving ledgers from the 1870’s and 1880’s. Her collection is also purported to include pieces from the Queen of Spain (Isabella II)’s collection.

Stanford’s collection includes many classic 19th century pieces, the kind you might see in the Victoria & Albert museum in London or at the Met in New York: bangle bracelets, a diamond arrow brooch, a diamond studded pocket watch, cameos, parures, jeweled hair combs, portrait brooches….

Photograph by Sugar et Cie of work by Astley D.M. Cooper “Mrs. Stanford Jewels,” Cantor Museum at Stanford University

JEWELLERY IN 19TH CENTURY OIL PAINTINGS

Within the Cantor Museum, there were surprisingly few portraits of Mrs. Stanford wearing her jewels (especially ones including the details that I love). This was perhaps the best: Jane Lathrop Stanford, 1881, by Léon-Joseph-Florentin Bonnat (France) oil on canvas, Stanford Family Collection. The detail of the jewelry is not completely clear, but no one can mistake the lovely (and large) sapphire ring that she’s wearing on her index finger.

Photograph by Sugar et Cie of work by Léon-Joseph-Florentin Bonnat “Jane Lathrop Stanford,” Cantor Museum at Stanford University

Although it is well-documented, I’m not sure that today it is commonly known that Stanford University struggled financially after Leland Stanford’s death. Mrs. Stanford worked tirelessly to ensure its financial stability.

SELLING THE COLLECTION

Jane Stanford traveled to London during Queen Victoria’s Diamond Jubilee celebration in order to find a buyer for her jewelry collection, but was not successful. In her will, Mrs. Stanford provided for her collection to be sold and for the proceeds to fund museum acquisitions. According to the Spokane Daily Chronicle, September 1, 1906, “The world famous collection of precious stones and jewelry, the property of the late Mrs. Jane Stanford, will be sold by the Trustees of the Leland Stanford Jr. University Association as soon as possible… Many offers from leading Eastern jewelers are already on file…”

XOXO VAMP! & OUR JEWEL OF THE WEEK

Last year was the 20th anniversary of Chanel’s Vamp Nail Polish. It seemed that no one really made a fuss. There was no new version, no relaunch or 20th anniversary edition. As a lover of Vamp and all things Vamp colored, all I can say is – Big mistake Chanel!

The color launched in 1994, was made famous by Uma Thuman in pulp Fiction and Madonna in her music video, Take A Bow. By 1995, it was almost impossible to get your hands a bottle. It has been continuously knocked off ever since. It has quietly become, should I say it out loud? …A timeless classic.

Why is its appeal so everlasting? Maybe it’s not for everybody, but it is hard to resist its rich, deep, black-red color. It conjures up thoughts of so many lovely, mouthwatering things: The deep rich red of Cabernet, the purple-red of ripe summer blackberries and cherries, and another fashion favorite – LV’s Vernis in Amarante.

It is also the inspiration for our jewel of the week, an Antique Garnet Cluster Statement Ring.

Previously a brooch (circa 1880/90), now in its second incarnation as a ring, it is comprised of concentric layers of rose cut garnets in round and pear shapes. Like most garnet jewelry from this period the cluster is set in what is called garnet gold, sterling silver or other base metal washed with gold. The gallery and band are made of solid 14 Kt rose gold, a weighty 9.3 grams.

Wear it as a cocktail ring on its own or add another cluster ring in a contrasting color: hot pink sapphires, diamonds, orange fire opals.

THE TRADITION

From the late 1800’s into the mid 20th century, when an engagement ring was purchased at a luxury jewelry store, a sterling silver ring box was included. Unfortunately, Tiffany’s, Birks, and others no longer offer this option. Your diamond ring is now most likely to be presented in a velvet or leather box, which of course is still nice. But somehow, its not quite the same as a velvet or silk lined sterling silver ring box that screams – HEIRLOOM.

Why have these ring boxes become so highly sought after? Perhaps it’s the fact that silver can be engraved with initials or a special date hinting (a work of art in itself). Or perhaps some can’t stop collecting until they get their hands on THE ONE. Whatever the reason, women love these pretty sterling silver objects and men know their wife-to-be, will appreciate having an antique or vintage box to go with their antique or vintage engagement ring.

These boxes are a beautiful way to display, store, or present an important ring (Christmas, Birthday, Anniversary) and we are always on the look out for ones to add to our online collection. And like many of you, we like to know as much as we can about the details of the antiques that we buy and enjoy sharing with those that are interested.

Over the years we have come across a few from the U.S., some from England, but the majority of the ones we have been interested in, come from Canada (Birks, Ryrie, Ellis Bros.). The English ones are relatively easy to research and date due to England’s system of hallmarking. Canadian ring boxes can be a bit trickier.

While the Canadian silver ring boxes are for the most part marked sterling or plated, dating them is a bit harder. You can’t simply look at the hallmarks, look for the city mark and then look up the date letter to determine the year the piece was made. It was this quest that led us to dig a bit deeper. It is unlikely that you will be able to pin down the year, but you will have a better chance of identifying the period correctly.

A LITTLE HISTORY

So we did a little research, tracing the histories of these Canadian Jewelry companies that used to offer these sterling silver little beauties: when they merged, when they changed their names, and how their maker’s marks have changed over time. This, in conjunction, with the style of the box, the amount/type of wear, and the materials used, helped us get a better idea on the circa of the box.

Here is some of the information we compiled. It is a brief chronology (not an in-depth study) that provides some clues via key dates in the history of these famous firms.

RYRIE, ELLIS BROS. & BIRKS

Ryrie, Ellis Bros., and Birks were all premier jewelry companies in Canada during the 19th and 20th centuries. Birks is the only one that continues on today.

Birks or Henry (or Henri depending upon the reference) Birks & Sons was founded in 1879 by Henry Birks in Montreal. Ryrie was founded in 1879 by James Ryrie in Toronto (later becoming Ryrie Brothers in 1897). P.W. Ellis Jewellery Company was founded in 1872 by Philip William Ellis and brother Mathew C. Ellis in Torronto. It later became Ellis Bros. Limited. The company is listed as PW Ellis & Co. Limited on a catalogue dated 1915/16 and Ellis Bros. Limited on a catalogue from 1922. While these dates do not point to the exact date of the name changes, they are good reference points, from primary sources, which you can use to assess the maker’s mark that is on your box (or piece of jewelry from these makers). Keep in mind, that it is not an exact science and the marks did not change overnight.

All three luxury jewelry companies have storied pasts that became intertwined during the first quarter of the 20th century.
Ryrie Bros. was an independent company until 1917, when it became part of Birks. It appears that fundamentally, Birks purchased Ryrie (some report it as an affiliation and others as an amalgamation). The Ryrie reputation must have had value, as the combined entity was then renamed Ryrie-Birks, with the Ryrie name in the first position.

Ellis Bros. was also a successful jewelry business in Toronto. It was an independent, acquiring others along the way until 1928, when the wholesale portion of the business folded. In 1933, the retail business was absorbed by Birks. This time, the name was changed to Birks, Ellis, Ryrie. Eventually, the combined businesses became just “Birks” as it is known today.

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Sugar et Cie's jewelry blog is for those who love unique and beautiful jewelry. We share information on jewelry fashion, unusual pieces of antique, vintage and modern jewelry, in addition to our latest finds.